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  1. #21
    MurrayMinchin's Avatar
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    Thanks, but I think I'll stick with the orthochromatic lith film for now and find a convenient paper developer for mask development. Who am I to contradict Radeka's success with that combination?

    Murray
    Last edited by MurrayMinchin; 03-16-2005 at 10:44 PM. Click to view previous post history.

  2. #22
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    Quote Originally Posted by L Gebhardt
    I haven't seen his work until now. Thanks for bringing it to my attention. I feel that I still have a long way to go before I get his level. Do you know if most of his prints are from negatives or positives? I couldn't really see that from his site, though it was good to see that he doesn't use digital at all.
    Hi again L,

    Did you know Burkett has made a video of his approach to photography and a brief introduction to his darkroom techniques? He was nice enough to send me one after I sent him an e-mail telling him how impressed I was by his ability to find such subtle compositions in forests, how he could recognise such subtle relationships out of the infinetly complex variables in deep forest scenes.

    While the video doesn't go into great technical depth, the real lesson to be learned from it is to be found in Burkett's eye's...you can see within them just how much dedication, how much commitment it takes to have that much control over processes.

    Murray

  3. #23

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    Quote Originally Posted by MurrayMinchin
    Hi Donald,

    I've been thinking of getting away from using HC-110 for masks. How does Dektol behave at high dilutions? My early masks with HC-110 at high dilutions with normal agitation were heavily mottled with a "paisly" (?) pattern. To get a smooth/even density I had to plunge then lift the mask by each corner once every 15 seconds, or 4 times by each corner per minute...does Dektol require such aggresive aggitation at high dilutions?

    Murray

    I tray develop my masks. So continual suffling, hence agitation, is a part of my procedure. I have not found a mottling when I use Dektol.

    On the subject of your other question. I typically will use 1 1/2 oz of Dektol for my unsharp masks in 45 oz of water. Then when I move to making a sharp mask for a given negative I will add an additional 3 oz of Dektol to the existing 30-1 dilution. This then gives me the 10-1 dilution that I use for sharp masks. I don't know what capacity (number of masks) this would handle since I have never reached anywhere near exhaustion.

    Additionally, I have used Zone VI print developer in the same dilutions as Dektol with good results.

  4. #24

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    Quote Originally Posted by L Gebhardt
    Do you know if most of his [Burkett] prints are from negatives or positives?
    I've been to Burkett's studio on a tour maybe 10 years ago. It was quite informative. In addition to using masks, he also did things like dodging the top of the frame on his famous aspen tree trunks shot with a yellow gel filter to remove some of the blue flare from the sky that was outside of the frame.

    Anyway, at that time, he was using transparency films. Fujichrome, I think.

    kirk - www.keyesphoto.com

  5. #25
    MurrayMinchin's Avatar
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    [QUOTE=Donald Miller]I typically will use 1 1/2 oz of Dektol for my unsharp masks in 45 oz of water. Then when I move to making a sharp mask for a given negative I will add an additional 3 oz of Dektol to the existing 30-1 dilution. This then gives me the 10-1 dilution that I use for sharp masks./QUOTE]

    Sneaky...I like it! I do have an ancient package of Zone VI developer on hand to run some tests with.

    I mix up my own Metol / Glycin print developer that's closer in performance to Ansco 120 than it is to Dektol or Zone VI developers. It's really slow "off the starting line" compared to other developers with the negatives clear edge appearing at around 45 to 55 seconds (depending on age and temperature) and the shadows appear at around a minute, so I don't know if it's appropriate for masks. What do you think?

    Murray

  6. #26

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    I typically will develop an unsharp mask (using lith film) for 1 1/2 to 2 min. Sharp masks are more likely to be 2 to 3 1/2 min. At the dilutions that I noted.

    I would imagine that your print developer will work...just a matter of finding out the characteristics of the materials and working with them.

  7. #27
    MurrayMinchin's Avatar
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    Quote Originally Posted by Donald Miller
    ...just a matter of finding out the characteristics of the materials and working with them.
    True enough...as always the answer is to test and try it out...will compare differences to the Zone VI.

    Murray

  8. #28

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    Is anyone using or has anyone tried vesicular film for masking in B&W? It is certainly extremely economical.

  9. #29
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    Quote Originally Posted by Claire Senft
    ...vesicular film...
    Never heard of it.

    By the way, I tried the Zone VI print developer at 1:40 from stock solution for Contrast Reduction Masks (CRM) and will never use HC-110 at 1:40 from stock solution again! The print developer is easier to control, and gives a much more even tone.

    Murray

  10. #30

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    Vesicular film is a non silver film that is not panchromatic. It develops instantly when exposed to heat. it is extremely inexpensive. It comes in 35mm long rolls and 4x6 sheets. For a period time, at least 15 years ago, there where a number of lettets and articles written in what is not Photo Techniques magazine about using this film for masking Cibachrome. Since it is a non panchromatic film it should be more useful in B7W than in color.

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